question for working players

Karen Sarkisian · From: Boston, MA, USA

I am having a hard time finding work lately and trying to decide if having my website professionally done would be helpful. Those of you who work frequently, do you find that having a "pro" website helps you to find work or is it not really worth the investment ? I was working quite a bit in the past, but now everything has pretty much dried up. I think part of the problem is that pedal steel is really not needed full time in a new country band. I would like to be working with more singer songwriters in original projects. My website is very basic and doesn't come up on searches so I am considering having a pro do it. Just looking for feedback from working players. thank you ! Mr. Green

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Emmons, Franklin, Mullen

Bob Blair · From: Edmonton, Alberta, Canada

My connections with singer/songwriters have pretty much all come from word of mouth and being around where they are. A good website is a useful calling card, and I'm looking at getting one going to promote the solo side of what I do, but my experience has been that being around in person, hanging out where they are hanging out etc., is the biggest part of it. I know a steel player who has become a regular part of a fun and popular open mic event frequented by the young SS crowd who love to play their latest stuff for one another, and that appears to have helped him get involved in various things.

chris ivey · From: california (deceased)

what bob said!

Karen Sarkisian · From: Boston, MA, USA

I hate going out and "networking" if I don't have a gig. bummer Oh Well

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Emmons, Franklin, Mullen

Bob Hoffnar · From: Austin, Tx

A website hasn't made much difference in my case either. What I do is practice and study more. Improving your skills and learning new forms of music opens invisible doors. There is so much music where you are. Tons and tons of really major stuff. I just started working remotely with a guy from Mass Arts.

Maybe take some classes at Berkeley. No shortage of music there !
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Bob

Dick Wood · From: Springtown Texas, USA

Get out and Network,ask to sit in for free and Facebook have always worked for me. Once you're known around an area,word of mouth will get you jobs but you have to keep letting people know you're alive and need work in my opinion.
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Cops aren't paid much so I steel at night.

Donny Hinson · From: Glen Burnie, Md. U.S.A.

Dick's right! Unless you're famous, you have to be your own advocate. Get out and about, let them know who you are, and what you do! Meet the local players and club owners, and also make it known to local studios that you're available for sessions. (This is an ideal time - send them a Christmas card with a web-link and a couple of business cards.) Post you business card on local bulletin boards anywhere you find one, and especially at music stores!!! Post on facebook, if you're into that, and you also should strive to get some better videos posted on YouTube.

Personal websites are great, and they aren't terribly expensive. But your website will be hard to find if nobody knows your name.

Karen Sarkisian · From: Boston, MA, USA

Sounds like paying a pro to do my website is not the best idea. I do need to have some business cards made up and get out and network a bit. I'll sit in for free with someone I really want to play with, but for the most part I need to get paid. I have a degree from Berklee and a lifetime of devotion and experience with music that I want to be compensated for. I also agree with the "invisible doors" theory. practice and preparation does seem to bring more work. Thanks for the feedback on this everyone, it is very much appreciated ! Winking

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Emmons, Franklin, Mullen

Richard Sinkler · From: aka: Rusty Strings -- Missoula, Montana

I don't think I have ever gotten a job through my website. And I get a good amount of hits on my site. Over the years I have built a good reputation, and I think that is the most important. It took years to build up that reputation, but all the networking paid off. I often get gigs , or session work from people who have never heard me. Referrals from friends is priceless.
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Carter D10 8p/8k, Dekley S10 3p/4k C6 setup,Regal RD40 Dobro, Recording King Professional Dobro, NV400, NV112,Ibanez Gio guitar, Epiphone SG Special (open D slide guitar) . Playing for 54 years and still counting.

Barry Blackwood · Posted 8 Dec 2015 3:28 pm

Richard Sinkler · From: aka: Rusty Strings -- Missoula, Montana

Along with any playing skills I may have, part of my reputation is based on being an easy person to work with. As Barry said, playing skills and attitude go farther than schooling.
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Carter D10 8p/8k, Dekley S10 3p/4k C6 setup,Regal RD40 Dobro, Recording King Professional Dobro, NV400, NV112,Ibanez Gio guitar, Epiphone SG Special (open D slide guitar) . Playing for 54 years and still counting.

Karen Sarkisian · From: Boston, MA, USA

i didnt mean to boast about my degree, i am very professional at gigs and do have good references. i also believe that my time is of value and if i need to learn a tune for a session or a set for a gig then i should be compensated.
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Emmons, Franklin, Mullen

Donny Hinson · From: Glen Burnie, Md. U.S.A.

Karen Sarkisian · From: Boston, MA, USA

sorry I dont mean to come across as arrogant. I am not an arrogant person. I am just frustrated that I have worked hard and am not getting the types of gigs that I would like. I need to work harder, practice more, and network. it's very well understood and appreciated.
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Emmons, Franklin, Mullen

Eric Philippsen · From: Central Florida USA

Not working? Let me put it in bluntly. You have to get out there and meet people, sit in for free, and let the music people in your area know you are available. You have to show up every time dressed well. Not, mind you, like something that walked out of a countryusic star magazine, but neat and easy to get along with. And, for goodness sake, remember your place. That is, you are not the star. You are a sideman whose job is to make the singer and song sound the best it can be. That often means you need to cut out half the "listen to me" fills. In short, know when to shut up. Alcohol? Nurse one soft drink or water instead. And show up ahead of time.

Kyle Everson · From: Nashville, Tennessee

I'll second what most have said: personal relationships and networking are the best ways to get playing jobs. The main benefit I've gotten from my site has been people needing overdubs. That seems to be the only work I get from my site.

Rich Upright · From: Florida, USA

I am currently playing 4 nights a week with 3 different bands. I get my gigs from 3 sources: My rep & word of mouth, Craigslist, & Facebook. I have gone out & networked, but mostly when I first moved to Florida; I won't play on anyone's equipment but my own, as my tone affects my playing style, and my tone is unique as I run a stereo delay through 2 amps.

But...here is your biggest problem: Your location. Back in the day, the best area for country music in the US was...believe it or not...the New York City-NJ metropolitan area. I played around your area when country was cool (Blue Star in Saugus, Trader Allen's in Amesbury, and a few I can't remember) and pickin's were slim in your area back THEN; I would think the Boston area is all but dead for country. You need to relocate to an area where traditional country is still taken seriously enough to be played several nights a week, and that definitely would NOT be in the North. From the research I have done, the best areas are Dallas-Ft.Worth, and the I-35 corridor between Austin & San Antonio, but all of the Texas-Oklahoma area is supposedly decent for gigs, but you're gonna hafta travel. Florida can be hit or miss, but I'm lucky in that there are not many steelers left around here that still get out & play; most are retired or dead. Maybe a relocation to a sunnier area is in the cards for you?
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A couple D-10s,some vintage guitars & amps, & lotsa junk in the gig bag.

Ben Lawson · From: Brooksville Florida

Tell a few people that you want to quit playing. I did and I get calls from folks I don't know. Some wanting to know if I'm available and some to thank me for quitting.

Karen Sarkisian · From: Boston, MA, USA

Yes part of the problem Ieast for country music is the location. New country is very big here in Boston due to the college students and 20 something's, but none of the new country bands want a steel player unless you play fiddle, banjo, mandolin and dobro as well. And what they want from you as a steel player is quite minimal and can be covered by the guitar player. I was in a decent classic country band recently but we disbanded due to lack of audience interest and poor paying gigs.
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Emmons, Franklin, Mullen

Joseph Napolitano · From: New Jersey, USA

Wanting to play pedal steel in a country band, and wanting to play pedal steel in a band are two entirely different things. I live and play in New Jersey, and NO ONE wants to go in a club around here (Asbury Park area ) and hear classic country. But people really enjoy hearing pedal steel on songs that they're familiar with.. Neil Young ,The Stones, Springsteen( of course),The New Riders, The Dead, Pink Floyd, newer country like Tim McGraw, Blake Shelton, etc..even if the songs don't have steel on them originally, put it in and make it fit. There's also a vibrant SS scene around here, and a lot of them love hearing some steel on their stuff. I'm not that good yet, mediocre on a good day, but that's been my experience. But anyone looking to play classic country( Which I love)around here is not going to get any gigs, and I don't see that ever changing.

Steve Spitz · From: New Orleans, LA, USA

Karen
I can relate to the " I hate to network " sentiment . It's not fun looking for work . Its self promotion, which I dont enjoy. I'm guilty of not trying too hard , and I'm not desperate to play.
. It's an awkward instrument to sit in on , and I rarely if ever play for free. I'm no great player, but like you, I've got a lot invested in what I do . I'm not looking to find any new ways to play for free. If the work isn't there " giving it away" won't fix that issue . I might be willing To be more flexible on the compensation if the work was very rewarding in a musical sense . Stepping out of my musical comfort zone is another avenue to pursue.

when I go through a slow spell, I take a gig or two that I might usually turn down. Networking between sets is more bearable when I'm at a job , even if it's not an ideal gig. I did a real stinker last weekend, and used it to pass out some cards, let someone know I'm available to sub.

Do I wish I played more gigs? Better gigs? You bet. But I do occasionally find myself on a gig where I question the wisdom of taking the work. Being busier isn't allways better.

We've been at this a while. Busy times, slow times. I use the slow times to improve my playing . The next opportunity will come around, and I'll be a better player when it does .

Rich Upright · From: Florida, USA

Joseph Napolitano · From: New Jersey, USA

Howdy Rich. Mrs. Jays was a wild place! I started playing there when I was 18. Those places have all been gone for 20-30 years .Sorry about the hijack Karen.

Karen Sarkisian · From: Boston, MA, USA

no worries ! Hijack away !! I'm ready for a change of subject Laughing

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Emmons, Franklin, Mullen

Barry Blackwood · Posted 9 Dec 2015 9:31 am

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